This diploma thesis deals with the current phenomenon of video on-demand and the strategy of the streaming company Netflix when entering the European market. In the opening chapters it is necessary to explain the boom of the video on-demand services (VoD) in the context of television history and its position in relation to traditional linear broadcasting. Subsequently, the dramaturgical line and the programming offer of the company are presented , which is undoubtedly a competitive advantage of Netflix. In this context, Netflix's biggest competitors and their approach to production of original content are mentioned. The challenges Netflix is facing in its international expansion are also mentioned, including the need to tailor its offer and produce local content when entering new markets. Afterwards the European market as a whole is analyzed with regard to the specificities of the region and the key steps that were necessary to successfully start doing business on the continent. Last but not least, the thesis examines the position and development tendencies of Netflix in the field of original production in selected three European markets - Norway, France and the Czech Republic. In this part, Netflix is compared to other VoD competitors in these markets as well as by established players such as...

This diploma thesis deals with the topic of video on demand platforms and is more closely focused on one of the main worldwide available platform managed by Netflix. The thesis describes the history of the service and the basic principles and theories on the basis of which this service works. Attention is devoted to the functioning of this platform in the Czech Republic and the development of the user interface and expansion of the catalogue in order to gain more attention from the Czech audience. The research part of the thesis provides insights into the way how the platform is used by Czech users, specifically among 20-27 years old students. The qualitative survey examined the period and ways of how Netflix became known among the users, how users gained access to video content before subscribing Netflix and how the platform influenced their series and movie consumption habits. The research also focused on the perception of the offered content, on the form and price of the subscription and on the user-friendliness and functionality of the platform. The other aim of the research was to find out how much time users spend watching movies and series and in which situations they are looking for this activity. Part of the research also looked at changes in the use of the streaming service during the...

El presente trabajo de investigación tiene como finalidad analizar el incremento de suscriptores de Netflix con respecto a la competencia desde el 2010 hasta lo que va del año 2020. Hemos determinado que el enfoque será predictivo para que la organización a cargo pueda hacer uso del modelo supervisado de la manera que más le favorezca y estos puedan tomar las mejores decisiones estratégicas. Para ello, se ha generado una base de datos recopilada de diversas fuentes públicas confiables para obtener las variables: “cantidad de suscriptores”, “costo de contenido original”, “covid-19” … y posterior a ello, con toda la data adquirida se procederá a realizar cada etapa de la metodología de la ciencia de datos descrita en el curso durante el programa de ciencia de datos. Para aclarar el panorama hemos optado por el uso de la técnica de correlación de Pearson, lo cual nos permitió determinar las variables que tenían mejor correlación entre ellas, esto advierte que la variable más adecuada para determinar futuros pronósticos y analizar el incremento de suscriptores es la del costo de contenido original. Finalmente, para mostrar los resultados de la investigación se ha decidido utilizar como herramienta de visualización Power BI para exponer el presente estudio y responder a los objetivos planteados. / The purpose of this research work is to analyze the increase in Netflix subscribers with respect to the competition from 2010 to so far in 2020. We have determined that the approach will be predictive so that the organization in charge can make use of the supervised model in the way that best suits them and they can make the best strategic decisions. For this, a database compiled from various reliable public sources has been generated to obtain the variables: "number of subscribers", "cost of original content", "covid-19" ... and after that, with all the data acquired Each stage of the data science methodology described in the course will be carried out during the data science program. To clarify the panorama we have opted for the use of the Pearson correlation technique, which allowed us to determine the variables that had the best correlation between them, this warns that the most appropriate variable to determine future forecasts and analyze the increase in subscribers is the of the cost of original content. Finally, to show the results of the research, it has been decided to use Power BI as a visualization tool to present the present study and respond to the objectives set. / Trabajo de investigación

Las marcas han identificado una oportunidad de desarrollar Social Media Engagement Behaviour (SMEB) en sus usuarios mediante herramientas de Social Media Content (SMC) dentro de las redes sociales, como Facebook. Sin embargo, no logran comprender si los usuarios se encuentran realmente comprometidos con ellas o con sus productos, más aún si ambos escenarios cuentan con una identidad propia en redes sociales y con distintos seguidores. La presente investigación compara el SMEB generado en ambos escenarios, contrastando a los seguidores de Netflix en Facebook y a las páginas oficiales de sus series. Los datos se recolectaron mediante la aplicación de dos encuestas online a 284 usuarios. Posteriormente, fueron analizados a través del método de análisis multivariante PLS-SEM basado en un constructo de second-order. El estudio concluye que el SMEB encontrado en los usuarios seguidores de la fanpage de Netflix como marca es superior al de sus series en Facebook, revelando así una predominancia de la preferencia, en términos de contenido en redes sociales, por la marca sobre el producto. / Brands have identified an opportunity to develop Social Media Engagement Behaviour (SMEB) in their users through Social Media Content (SMC) tools within social networks, such as Facebook. However, they fail to understand whether users are really engaged with them or with their products, especially if both scenarios have their own identity in social networks and different followers. The present research compares the SMEB generated in both scenarios, contrasting the followers of Netflix on Facebook and the official pages of its series. Data were collected by applying two online surveys to 284 users. Subsequently, they were analysed through the PLS-SEM multivariate analysis method based on a second-order construct. The study concludes that the SMEB found in users who follow Netflix's fan-page as a brand is higher than that of its series on Facebook, thus revealing a predominance of preference, in terms of content on social networks, for the brand over the product. / Tesis / PE

Las plataformas streaming han tenido un rápido crecimiento a nivel global. Los consumidores ahora tienen a su disposición diversos servicios de streaming donde pueden ver lo que ellos quieren, en cualquier momento y lugar a un precio cómodo. A pesar de que Netflix, Amazon Prime y otras plataformas streamings de video brindan el mismo servicio, estas plataformas difieren en el content richness, las diferentes tarifas y la facilidad de uso. De tal manera, que las empresas tienen la responsabilidad de proporcionar la mejor calidad de servicio para una mayor satisfacción del usuario. Este estudio discutirá los factores de calidad de servicio en relación al grado de satisfacción del usuario en las plataformas streaming. / Streaming platforms have grown fast in the global market. Consumers now have at their disposal various streaming services where they can watch what they want, anytime, anywhere and at a comfortable price. Even though Netflix, Amazon Prime, and other video streaming platforms provide the same service, these platforms differ in content, different prices, and ease of usability. In such a way, companies have the responsibility to provide the best quality of service for greater user satisfaction. This study will discuss the quality of service factors in relation to the level of user satisfaction on the transmission platforms. / Trabajo de investigación

Entertainment media, specifically television, plays a big part in the construction of ideas and thoughts within a society. Television is a form of popular culture which can be used as a source of entertainment but can also promote certain ideologies and values to its audience. Sex Education is a Netflix series released in 2019 with a primary focus on knowledge around sexuality. This study aims to investigate how the Netflix-show Sex Education constructs knowledge around sexuality and how it conveys values and ideologies through this construction of knowledge. The study is different from other studies about the show as it focuses explicitly on the knowledge and conversations around sexuality, not how the knowledge is constructed in sex scenes or through other relations and characterizations in the show. The study specifically interests itself with the conversational and articulated elements of sex education. It is important to study how Sex Education portrays knowledge about sexuality as it reflects values and ideologies within a western society, and can be helpful in exploring the discourse around sex education that prevails within this type of society. This construction will have an effect on the audience which consumes it and will showcase the boundaries which sex education presents and articulates itself within. The discourse within the show sets the grounds for how the topic of sex education is spoken about within their given culture. The study uses a poststructuralist discourse analysis to approach the research and finds similar elements within twelve selected scenes from the show to explore how knowledge about sexuality is constructed in the material. Important factors of the analysis are power, ideology, status and values. These are explored in connection to characters' subject positions and the context in which the factors exist: a fictional exaggerated version of western society. The study finds that the selected scenes create a power struggle between a hegemonic, traditional and progressive discourse around sex education. The suggested discourse in their fictional world is the progressive discourse which includes a positive attitude towards diversity and social aspects of sex education. It also highlights a difference in characters' attitudes depending on their subject positions.

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This thesis examines the on-going anti-piracy and anti-file sharing measures taken by media conglomerates and big content as misguided attempts at addressing changing consumer expectations and social and technological norms. These measures include legislation such as the Stop Online Piracy Act (SOPA), Preventing Real Online Threats to Economic Creativity and Theft of Intellectual Property Act (PIPA), Anti-Counterfeiting Trade Agreement (ACTA), and Cyber Intelligence Sharing and Protection Act (CISPA); and litigation against both extremes of the spectrum: from the world's largest file sharing search engines like The Pirate Bay, and cyberlockers like MegaUpload, to private citizens who illegally downloaded a few movies or a few songs. The manner in which the entertainment industry's largest, most expensive, and highest-profile anti-piracy measures in the recent years have been received by groups from IT corporations to human rights organizations, researchers, politicians, legal and internet experts, and millions of citizens worldwide are of focus; and how this translates into an unpopular public image is explored. Piracy is underlined as a service and distribution problem, and various international studies are presented in exploring the relationship between illegal downloading and legal purchases.

El marketing de nostalgia es una herramienta utilizada para captar la atención del consumidor a través de un sentimiento de añoranza hacia el pasado. Los estudios analizados en el presente trabajo de investigación mencionan que la nostalgia es un sentimiento poderoso que evoca al pasado feliz del consumidor y lo trae al presente, causando un efecto positivo en su actitud. Ha sido utilizada en el branding, desarrollo de producto, estrategias de comunicación y de contenido. Sin embargo, pocos autores describen el uso de esta herramienta en la estrategia de contenido. Es por ello, que este trabajo de investigación analizará las actitudes de los millennials frente al uso del marketing de nostalgia como parte de una estrategia de contenido, específicamente de la alianza de Netflix y Nickelodeon que se basa en un acuerdo de producción de contenido en el que Netflix podrá tener en su plataforma contenido nuevo y antiguo de Nickelodeon. Para ello, se realizará un trabajo de campo cualitativo a través de entrevistas a profundidad dirigido a millennials que usan Netflix y que tengan una conexión previa con Nickelodeon. Esto nos permitirá conocer las principales actitudes, sentimientos y pensamientos con respecto al caso de estudio. / Nostalgia marketing is a tool used to capture the consumer's attention through a feeling of longing for the past. The studies analyzed in this research mention that nostalgia is a powerful feeling that evokes the consumer's happy past and brings it to the present, causing a positive effect on their attitude. It has been used in branding, product development and communication and content strategies. However, few authors describe the use of this tool in a content strategy. This is the reason this research will analyze the attitudes of millennials towards the use of nostalgia marketing as part of a content strategy, specifically the alliance of Netflix and Nickelodeon, that is based on a content production agreement in which Netflix will be able to have new and old Nickelodeon content on its platform. In order, to do this, a qualitative field work will be carried out through in-depth interviews aimed at millennials who have used Netflix and who have a previous connection with Nickelodeon. This will allow us to know the main attitudes, feelings, thoughts regarding the case study. / Trabajo de investigación

La télévision traditionnelle, « voix de la France » est un média de masse. Avec un taux d’équipement des foyers de plus de 98%, un taux d’écoute de plus de 3h50 par jour, un chiffre d’affaires publicitaires de plus de 4 Mrd EUR , et des « contenus rendez-vous » assurant des audiences record, cette télévision trône dans le salon et réunit la famille. Jusque dans les années 1980, elle reste placée sous le contrôle du pouvoir politique.Sous la Présidence de François Mitterrand, la télévision se libéralise. De nouvelles chaînes privées et commerciales financées par l’audience et la publicité apparaissent, tandis que le secteur public reste principalement financé par la redevance audiovisuelle. Dans les années 90, l’arrivée du câble et du satellite, puis de la TNT en 2005, permettent l’accroissement considérable du nombre de nouvelles chaînes et des offres de télévision (abonnements au câble, au satellite, et à Canal + en 1984). Le numérique révolutionne le secteur de la télévision, les technologies et les usages. Le nombre de chaînes continue de s’accroître de façon exponentielle. On voit se développer la production de contenus générés par les consommateurs (UGC), et l’interactivité est favorisée grâce aux réseaux sociaux. L’évolution des équipements changent les habitudes de consommation du petit écran, notamment pour les plus jeunes. L’ordinateur, la tablette, le Smartphone et la télévision connectée permettent de visionner « la télévision comme je veux, où je veux, quand je veux. ». Ainsi la télévision traditionnelle considérée comme un média de masse, tend à s’individualiser, et s’adapte aux goûts et aux envies de chacun. L’écosystème jusqu’à présent hexagonal est littéralement en train d’exploser pour faire face à l’internationalisation des contenus et à des acteurs audiovisuels majoritairement nord-américains. La réglementation devenue obsolète peine à trouver un nouveau cadre juridique à l’échelle française et européenne. Face à l’offre mondialisée, et les nouveaux usages de consommation notamment les usages délinéarisés (télévision de rattrapage, et Vidéo à la demande), la télévision continue néanmoins à fédérer le public autour de grands évènements d’actualité (évènements sportifs, politiques, journal télévisé du 20h…). Les profondes mutations et les changements rapides qui s’opèrent actuellement laissent planer une grande incertitude sur l’avenir de la télévision traditionnelle et faute de pouvoir s’adapter, celle-ci pourrait à plus ou moins long terme disparaitre… / Traditional TV, "Voice of France" is a mass medium. With a home ownership rate of over 98%, a viewing rate of l more than 3.50 hours, advertising revenue of over 4 billion euros , and “contenus Rendez-vous” bringing in record audiences, television rules over the living room, bringing the family together up into the 1980s. It is, however, controlled by the ruling political powers.Under the presidency of François Mitterrand, television was liberalized with the appearance of new private and commercial channels, financed by audiences and advertising, while the public sector continued to be funded by a license fee. In the 90s, the arrival of cable and satellite, followed by TNT in 2005, allowed the amazing increase of a number of new channels and TV services (« subscriptions to cable, satellite and finally Canal + in 1984 )But this evolution continues with the arrival of digital TV, revolutionizing the industry. It increases the number of channels exponentially, expands the production of content generated by consumers, and promotes interactivity through social networks. Technological advances are changing consumer habits with regard to the small screen, especially for young people. The computer, tablet, smartphone and the connected TV let you watch "television as I want, where I want, when I want”. Traditional TV, once considered as a mass media, is now a media that is individualized and that adapts to the tastes and desires of each viewer.The current financial system in France is literally exploding to deal with the internationalization of audiovisual content and players, with most of the content produced in North America.. Obsolete regulations can no longer keep pace with consumer demand in Europe and France. Faced with global supply and new viewing habits (delinearised viewing: replayand video on demand), television still continues to unite the public around major news events (sporting events, political events, the evening news …). The important, rapid changes now occurring in TV content and distribution lead to considerable uncertainty with regard to the future of traditional television, and unless it can adapt, it could more or less disappear in the long term.